Sometime I wander into interesting conversations on the
internet. Among the most passionate are
those decrying the value of kata training in the martial arts. The lines of
disavowal proclaim:
1) Only
actual fighting really matters,
2) Today’s
attackers are too sophisticated for the techniques of kata (which are centuries
old) to actually work. Nobody attacks that way anymore,
3) Being
worthless except for exercise only a few kata are needed for that anyway,
4) If
kata are needed, only a few are needed anyway, after all how can anybody Master
more than that anyway.
5) And
so forth……until the inevitable “Cause Bruce Lee said so!”…..
Its interesting how people pick and choose their
‘justification du jour’ to make their case.
A great deal has been written regarding the fringes of kata,
what’s right, what’s wrong, how much is or isn’t taught. Then as I review my
library and research notes, I find that very little substantively has been
written about kata in Okinawan Karate.
I don’t mean he description of forms, such as in “move here,
block there, punch and strike after this”. Rudimentary movement descriptions
abound, supplementing an instructors efforts, and occasionally providing
inspiration for somebody to try and capture the form described on their own
efforts.
Likewise I wasn’t referring to the cataloging of who
studied what kata, of which various records abound.
What I see as missing is an inquiry into the depth of kata
training.
My perception on Kata’s Okinawan Genesis
I believe there are several reasons why the long term role
of kata has not been discussed in depth, openly. First among them being the
fact that Karate developed in a culture choosing a non-literate method of
transmission. Historically this was done
by direct physical instruction and accompanying oral transmission of the arts.
There is nothing to suggest that an instructor felt there was any additional
value by having a student read accompanying material.
When the first ‘Karate’ texts did appear in the 1920’s and
1930’s my opinion was they were geared as much to be a justification of
karate’s nature for the Japanese Martial society, as for a basic reference for
students. They were more basic how to texts, with in-depth instruction to be
provided under the direction of the senior instructors (the old fashioned way).
I don’t believe things (prior to WWII) changed a great deal
on Okinawa, with the Seniors remaining in charge until the next generation took
over in the passing of time. On the other hand, in Japan, looking from a
distance, instructors seemed to spring up with scant years of training, new
styles sprang into existence and the nature of kata in training began to
deviate from the Okinawan origins.
I’m not referring to the ‘changes’ which took place in kata,
stance, etc., IMO, that is Karate’s nature, to flow through the human culture,
but a shift in Kata’ emphasis took place, it wasn’t the springboard for
application, instead sport became the driving force for execution. And/or
Karate without sport and without application, an even different creation from
the Okinawan origins.
It would be presumptuous for me to believe I fully
understand the changes which took place. Most of my knowledge came from my
reading, and I’m very aware how faulty the scholarship in martial matters has
been in too many texts.
Instead I would offer my personal view on the place of kata
in lifelong training, the myriads of opportunities which present themselves
(more than any of us can fully attempt) and offer this as a trade off against
various martial trends of which I am aware.
On The Historical
Relationship of Kata to Training
Collectively the Okinawan systems of training which are
classified under the label ‘Karate’ retained the study of kata as their primary
core. In plain speech, if they didn’t
study and practice Kata they weren’t doing Karate. In that sense, Karate and the study of Kata
become synonymous.
At a very high level of abstraction, the Okinawan stylist
admitted to training in basics, and studying kata, and involving decades of
study in that vein. With so much of the history of a Karate lineage passing
orally, we have no simple recourse to believe otherwise.
The Karate historians who try to pin down kata’s sources
find many contradictions in most of the stories, such as Kata which were
believed to be imported from China in the late 1800’s, were actually publicly
performed (and documented) in the mid 1800’s.
It is exceptionally difficult to know who taught whom what
in those classical (pre 1900) days. On the other hand, should one find
reference to ‘Many instructors knew only one or two forms’ many are willing to
take such simple words as justification that only the bare minimum of forms are
necessary for karate. So un-creditable
words by unknown sources are sufficient justification for present
decisions? [Too often an example how
people pick and choose material to justify their answers.] Whereas if one’s
instructor only did teach one , one or two forms, then it is an accurate
transmission from Senior to Junior. But
one really has to work to find a contemporary Okinawan system that does so.
[With no slight to the Ueichi group schools, who actually came from a tradition
of 3 (and then often became 8) kata. But then I’ve not found the Ueichi system
disbelieving kata’s purpose or existence either.]
Among the ‘evidence’ we have is that of Funakoshi Ginchin,
who wrote he spent his first 10 years studying the three Nihanchi Kata, a long
time later, he took an official syllabus of 19 kata to Japan and documented
them as his system. But his students studied other kata (from other
instructors) and eventually many made
their way into many Funakoshi derived groups.
With such surprisingly little documented Kata history, we
can safely make some wide understanding how kata was used.
One with only oral and direct transmission of kata from
instructor to student, and no outside template to compare against, an
instructor could view kata as fluid as he wished, keeping it unchanged, or
modifying it as often as he felt necessary. [My use of he isn’t an attempt to
fight politically correct speech, but rather a reality check as in those past
years, it was the men who were the instructors.
Today things are quite
different, but it doesn’t change the past either.] It is only when books and movies became
available that comparison (time binding) was directly a possibility, and not
necessarily the best one.
Without the bother of worrying about a ‘template’ the
instructor could focus on structuring the students use of form (kata) as
directly as possible to their individual needs. In those days the purpose of an
instructor wasn’t to keep a large bunch of students correctly lined up in
practice. Learning one kata for three years, meant three years of one to one,
constant instruction, shaping the student toward their maximum, not the outline
of a template.
Application wasn’t the primary purpose of training. Perhaps
a range of simple responses were taught to the newer students, after all no
instructor wants ones students to loose a fight, but as Okinawa really wasn’t a
terribly violent place, the purpose of training wasn’t to try and turn out an
instant warrior either.
Kata were recognized as the source of martial knowledge, but
as it is really difficult to teach one to actually use the depths of kata’s
potential, I honestly believe that mostly basic applications were taught (when
a new move was shown) and those basic applications formed the basis of a
students abilities until they developed a consistently high level of kata
technique. Once that occurred (maybe 2
or 3 decades into training) where the student actually performed a technique
correctly, then would the other potential be addressed.
I believe this was based on realistic assessment of advanced
skills. You can teach a technique to anybody, very quickly, but if they don’t
have the ability to sell the technique correctly they can’t use it for defense.
And if they really can’t use it why waste their time.
I believe this is the underlying principle why sport kumite
didn’t develop out of Okinawan Karate. Having students try to fight with little
technical ability, leads to developing only a portion of martial skill, and
there are other tools to hone those abilities. On the other hand taking the
time to develop higher skill, the student has less need to contest because
their skill training has become so consuming.
The record would seem to indicate instructors taught out
what they knew, and if the opportunity arose to learn more, most often they
seem to have taken it. Individuals like Mabuni and Taira appear to have taken
it to its further heights in Karate’s Traditional period (1900 to 1950), by
infusing large number of kata from many sources into their teachings. They had
the opportunity and took advantage of it.
With even these few examples it is easy to see there is a
wide range of practices on can pick and choose to be the ‘Example’ to
follow. But enough of Historical Musing.
As my argument needs I’ll return to these examples and others. Instead let’s move
onto Kata as a Life Long Potential
KATA – The Life
Long Potential
Before I begin to delve into kata practices, I feel I should
define my understanding of ‘KATA’.
Kata, or Form, is the rock pattern on which Okinawan Karate
is built. It is a tool to help shape the new karate-ka’s abilities. It may be
one technique or it may be a sequence of techniques that shape the martial
potential of movement. It is a goal of focusing your energies to totally
involve every aspect of your existence in practice. It is the opening movement
of taking those techniques and gaining skill in combat, and it also represents
a glimpse into the infinite potential of every aspect of Karate’s capabilities.
It is not meant to represent a mindless, repetition of
technique to drive automatic response into a nervous system. It is not meant to
be a group drill solely to hide behind ‘good’ group performance. It is not a
thing to be mastered, as in perfected. It is not a restriction of what can be
done.
It is a goal to stride towards, infinite in its potential.
We continue to grow, change and age, and as our technique matures we continue
to use our study of kata to find new growth.
The fullest study of kata involves much more than the kata
itself, it involves actually learning and applying the movement against
structured attacks and moving to applying the same techniques against random,
spontaneous attacks.
It represents an unlimited wealth of opportunity in
application, and the utter surety that dwelling too deeply in that depth of
knowledge can yield absolutely nothing at the same time. While that may sound
absurd, it really isn’t. Against an unlimited amount of movement potential, any
system takes a piece of that potential as its bedrock.
The goal isn’t being
able to reach infinity, but to know how to use what you possess and make it
work.
A life time of study yields but a scratch on the surface of
technique and knowledge. Against such
weighty words let me try to bring my thoughts to life.
First, let us recognize that vastly different potentials of
kata are best used at different levels. That which is appropriate for the
novice, is not the same which is appropriate to the advanced beginner
approaching ShoDan. That which is appropriate for one gearing for combat, is
entirely different from the mature karateka with say 30 years under the belt.
And the Senior Researcher or Senior Instructor have entirely different aspects
to consider.
It is necessary to understand how the tool kata is being
used to make sure it is being used wisely.
Brief Description of Stages
It is necessary to define a few concepts here. Specifically
I’ll be addressing the role of kata for the Novice Student, the
Intermediate Student, the Advanced Student, and for the Seniors (Instructors
and Senior Researches into the Art).
This has nothing to do with the age of the student, I don’t
different in course content for youth or adults (though I most certainly pay
attention to their differing abilities).
By Novice I mean the greenest student from the beginning up
to about Brown Belt.
By Intermediate I mean the time from Brown Belt to about 2nd
Black Belt.
By Advanced Student I mean the Black Belt 2nd and
up, focusing on their personal karate development.
By Seniors I’m referring to the needs for Instructors
(minimum of 15 to 20 years of study) and other Senior Researchers focusing on
larger development needs of the art than their own potential.
Kata
Studies for the Novice
Regardless of whether the system teaches 3 kata, 8 kata, 20
kata or 50 kata, every path starts with the beginner. There are numerous approaches that I’ve seen
used to introduce people to the study of kata. I’d prefer to characterize them
into two rough categories (with many layers in-between).
The one approach is to start small, and work the student to
trying to perfect each movement before progressing onto the next one. In this
approach every small detail is stressed from the beginning and the student is
focused on approaching perfection in movement, ASAP.
The other side of instruction is to start large and work
small. Permitting far less than performance in the beginning, and once the
student learns the roughest shape of the form, continue to refine their
movements as their physical and mental potential advances. This approach is
what I use and am an advocate for.
In part, from the earliest Kata, one step and a block or
strike, on to combination movements and finally to kata study I have not seen
either approach turn out instant perfection. If you take a period of time such
as 10 years, you will find both systems are adequate at turning out
technicians. But it is my contention that accepting far less than perfect
performance from the beginning, and patiently guiding the student’s development
over the years allows the student to more naturally enter the shape of the
kata.
Any kata can be taught in scant hours, and if the student
has the focus of mind, they can remember it and continue its practice
immediately. Does that mean they have an advanced understanding behind the
movement, no! That isn’t the
intent. Advanced skill allowing one to
focus every aspect of their body in union, the real direction behind kata
study, has no short cuts. By having them learn the pattern (embusen) early and
not focusing on all the incorrect details, as you clean them up, one by one,
you’re also cleaning up future kata studies before they begin. The student has the advantage of feeling the
accomplishment of acquiring the shell knowledge, and if they’ve been shown how
far their studies have to go, it can help them focus towards the ever growing
goals.
Now I take some guidance from my instructors, some from what
I understand happened in Okinawa in the past, and no small part from my own
study and my working with my students.
The goal of pure kata practice is control, working on
greater control in stances, technique execution, body movement, etc. My
approach, once the student grasps the larger execution begins to whittle away
at their technique. Correct the flaws, a few at a time, and as they improve,
continue to always pick the largest one to correct. With the passage of time they learn how this
movement becomes more concise.
Most of this simply cannot be described in words, which
would be too extensive for anyone to bridge. It must be shared directly, a
position here, a demonstration there, a word to help their focus. The goals involved do not lend themselves to
large group instruction, direct feedback and constant vigilance are required by
the instructor.
Now here is where I am at variance with much of the modern
traditions I see arising. One the most
senior instructors aren’t working with the beginners. Then too many students forces too many missed
opportunities to make immediate personal corrections. In the best
circumstances, instead of direct feedback, group feedback is enforced and the
goal becomes matching group performance.
Group practice isn’t bad at advanced levels, nor is it bad a
beginning levels, where you’re simply trying to get across the large detail of
the form, or even as special training devices, but for the rest of the time, I believe
it is contrary to the real art in kata. When the sole goal for the individual
is to hide in the group and move as one community, sharp group performance
still leaves the true nature of kata behind.
The one exception I make to this for my novices is class
group practice of kata Fukyugata Sho. I
find their quickly learning the kata, and being able to perform it with the
advanced students gives them great pride. Likewise the advanced students make
excellent role models, as well as using their high level of execution to pull
the lower students up to their level. The simplicity of the kata allows true
group instruction on the smallest details. The complexity of the kata, pushes
the novices to move into higher levels of ability. If you find a mistake in the
Brown Belt performance and correct it you’ll see it flow to the rest, down to
the newest, too. But the more advanced
kata in novice levels find group practice often a hindrance to advanced skill
acquisition.
In executing form, the goal is to learn how to keep every
aspect of your body motion alive. Even as simple a concept of tightening the
chambered fist at the moment of the other fists impact contributes to the
unison of body technique to the maximum. This requires constant monitoring to
fight errors when they creep in (and they do), and forces the instructor to
drive the student to develop their most personal explosive timing in their
technique execution.
It is this development which bridges kata practice and
application. On the whole much of this
becomes the foundation of advanced practice. I sometimes feel some instructors
find most students are throw-away’s, income to drive the school, and such
details may be left to those who last time out and continue training. I take
umbrage with that concept. Every student deserves full instruction, in some
cases this will drive the less interested away faster, in some cases it will
help those with potential to advanced faster, but it also can be a positive to
the new student to understand they’re receiving the bedrock foundation of
advanced training. This can give some reason to continue training too.
TEACHING the NOVICE KATA
I prefer to take new students on as small groups (5 or 6),
and they begin their earliest instruction in group, learning move by move (one
or two at a time) the large movements of kata (sometime within one or two
classes). But once they’ve gotten
through the first kata, the training group often becomes smaller and smaller,
as they learn at different rates, until they are learning at their own pace,
one to one and not as a group.
To spatially aid the student understand where to place their
limbs, or to shift their bodies, etc. I
explain the movement against a standard attack. More times than not, the
illustrations are definitely unworkable as shown. But I clearly make the
students understand this is the case. That I’m building their movement skill,
and the attack I’m showing as the kata countering, isn’t necessarily a real
attack.
Now some don’t agree with this answer, for only works every
time all the time is correct for ‘real combat’.
On the other hand I’m not convincing the novice they have
skills they don’t possess. And even if
the applications I’m showing to assist them aren’t the way I’d expect them to
use it within a few years, that doesn’t mean they can’t develop the skill to
sell it exactly as shown.
I’ve never met any body who couldn’t be show kata nor
perform it. I just takes unending patience with some as they teach it to
themselves. That is the most important thing to understand. You can’t teach
them, it really doesn’t work that way. Instead they teach themselves, using
your example, your words, and most likely the students just ahead of them in
the program.
BUNKAI and the Novice
Perhaps this is as good a time as any to begin discussing
the most important aspect of kata, its application potential. I use the term Bunkai reservedly, as it
really has no place in a discussion of Okinawa’s karate past. Karate developing
in non-verbal traditions didn’t have a term for application such as Bunkai.
Bunkai was a Japanese concept/term which entered the picture
sometime in the past 100 years. But
outside of sounding Oriental, it is a specialized Japanese term, that the
average Japanese would not understand in a Martial context. One Japanese teacher (of English) explained
that the average Japanese would understand Bunkai as in you Bunkai’d your car
(as in take apart). In one small sense you take a kata apart for its
application potential, but in a larger sense you don’t take your kata apart to
defend yourself. Instead you utilize concepts within kata in the defensive
context.
When I began studies in the early 70’s there was no study of
karate’s kata applications. Karate consisted of basics, kata, sparring drills
and sparring (American tournament version). When I began to branch out and take
advantage of other venues of training (believe me this is a long story that if
I start will not stop for a long time) the other schools weren’t doing it
either. Some systems taught ‘wazza’ or techniques and applied them to attacks
(and rarely ones directly from kata).
And I’ve been led to understand in most cases in those days that was the
same elsewhere, too.
Personally I began to realize kata had potential. When I
tried expressing this to my instructors, it went nowhere (as they weren’t
trained that way on Okinawa). Suffice it to say, ALL kata does have vast
application potential. And differing instructors have many ways of addressing
this (none, millions, only pressure
points strikes, or using kata as a mnemonic device to remember hundreds of
techniques (most of which are not from kata, but rather a complex system of
jutsu).
With a few exceptions, most of today’s work on application
potential comes from the sweat equity of current instructors. No doubt many
today do things with kata technique the Okinawan’s never dreamed of, but are
still effective. No doubt many do
incredibly ineffective things with kata too.
I don’t doubt Okinawan instructors knew ways to use kata
technique. They simply didn’t teach them (to beginners with a definition of
beginners as 20,25 or even 30 year students). My instructors under Shimabuku
Tatsuo didn’t study applications simply because they were incapable of getting
that far into the study. Preferring to
use my instructors instructor, Shimabuku Tatsuo as a model, instead of
applications to kata, when a student
became sufficiently advanced, instead he taught a series of maybe 45 techniques
to cover the standard, logical attacks one might face. Thus they would learn how to break a grab,
counter a kick or an arm lock, etc.
This gave them a concrete answer for defense, and the depths of kata to
guide further training.
For various reasons, today ‘bunkai’ is the in word in some
circles. I hear of instructors teaching many, many Bunkai to their Kyu students
and making them requirements for their belts.
I don’t say that can’t work, but as many students when shown exactly how
to apply kata’s movement and faced with the force of an attacker in their face,
will almost certainly do something else, on the spur of the moment.
Nobody wants a student not to survive an attack, and
provided the student does so, the manner isn’t a main issue.
But I believe the older tradition is likely right. Wait
until they have an advanced level of control and body shifting, and then worry
about variant ways to stop an attacker.
I follow the same approach, and my students the entire path
towards Sho-Dan (black belt) only are required for a small series of techniques
to cover basic attacks. But for their Sho-Dan examination I want to see those
techniques work for the student. And
part of them are 100% proscribed. The other part involves them studying a large
number of grab counters, and being instantly able to be grabbed and mount an
effective counter (not punching or kicking as they’re not the skills being
developed) instantly.
On Picking Beginning KATA
Now this is a theoretical study. Most of us don’t choose our
systems kata, we simply study what our instructors present.
Some use the Fukyugata, the Pinan, the Nihanchi kata as the
building key. Others, such as Isshinryu begin with a kata such as Seisann.
Whereas Seisan Kata is a most advanced kata in many Okinawan systems (abet in
various versions) some feel it is a poor choice for beginners.
Balderdash. It is just a beginning moment, and in fact it
matters not which kata you use. Isshinryu has been very competently using
Seisan Kata for the past 50 years, and apparently there are very ancient
Okinawan traditions using it as the first kata, too.
I taught as I was taught for years, and to youth back when
everyone felt I was crazy for teaching kids. Yet, eventually I started the
program with Fukyugata Sho and then Annaku kata. But you must understand I
wasn’t changing Isshinryu (in fact I modified those kata to use Isshinryu’s
striking, standing and movement), I was just holding the new student off of
beginning it too early.
Where there were days when one kept students on the same
material for years, times have changed. I refuse to equate change with things
are being lost or going downhill. My
personal only goal is to try and develop stronger students than anybody
(regardless of whether I’m successful or not, its my goal). By including the
other kata, I was slowing down their time before beginning Seisan, allowing
them stronger skills to do Seisan better.
I’m very comfortable with my decisions, but I’d also be as
comfortable with not changing anything.
Remember something very important. The only real goal is at
the end, not at the beginning. Yes, the stronger the beginning, the stronger at
the end, but with skill and correct focus (see how this repeats itself) each
way is correct. Rather than trying to find (or build) new kata, all are better
served by learning how to teach their path better.
Changing the Novice Program
I note some schools tinker and modify their novice programs,
Some occasionally, some frequently.
Frankly I went through that stage over 20 years ago. I had
great faith in my Isshinryu, but working with youth for years, and training in
a multitude of others systems for various periods of time, I began to wonder if
I could use better additional training tools for my students Isshinryu.
I was on my own after ShoDan almost as much as Isshinryu’s
original American pioneers. Yes, others existed, but through most of my karate
career I’ve been alone, except for the support and distant (physical)
friendship of my original instructors. All of the places I’ve been graciously
allowed to train were quite welcome to allow me to study their art, but for my
own there was no interest. That is as it should be, but it also leaves one
without others to bounce ideas off of.
Finding incredibly great value from many of those
instructors, and wishing to honor their sharing, I found compatible pieces of
their training were useful for my students as additional exercises. None of
which was meant to replace their Isshinryu. But some of those practices gave
greater depth to my students, some of them allowed them to become viscerally
aware of how others were training, both of which I found of value.
When confronted in moving to New Hampshire about 20 years
ago, I was able to take that time to restructure my kyu program and formally
include those practices with my base Isshinryu.
I never had any further reason to tinker with that system.
It does exactly what I want, produce very good students. As my Black Belt program developed, I was
able to channel my creative energies into advanced studies, not other ways to
do what we were already doing. Both of which continued fine.
Today in retrospect, knowing what I do now, I doubt I’d be
inclined to change from my original program. Everything I sought out and
studied I can show within Isshinryu as constituted in my teachings. But after
raising several generations of Black Belts with my program, I also find no
reason to change it again either.
Again why tinker with something which is working.
On the other hand, the additional material my students study
is not presented as Isshinryu. It is always credited to the correct source
system. Likewise, on occasion my students have had chance to study with those
brilliant instructors who shared with me, and thus they know exactly what we’ve
added as subsidiary training.
I should note, this topic directly relates to the topic on
Picking Beginning Kata.
Changing the Novice Program II
At the same time, an instructor must be sensitive to the
needs of the student population. Teaching in a rural community or a bed room
community is quite different from an inner city location, as is training for
the civilian population as opposed to a Police or Military group.
Where unanticipated violence can erupt anywhere, some
locations or situations seriously require a different structure of training for
the novice. This does not mean your core program would change, or that the
length of time to enter advanced training changes, but that your focus in
developing the student’s response for response to situations may be vastly
different. In some situations you may
choose to focus directed to perceived student needs.
KATA and the Intermediate Student
I consider the intermediate student one who is between Brown
Belt and 2 or so years into their Black Belt journey. My students in this range of study are
working on a few kata:
Fukyugata
Sho (Shorin Matsubayshi)
Kyozau (Okinawa
developed kata for gym classes)
Annaku
(Shorin Honda Katsu)
Seisan (Isshinryu)
Saifa (Goju)
Seiunchin
(Isshinryu)
Nihanchi
(Isshinryu)
Wansu
(Isshinryu)
Chinto
(Isshinryu)
Kusanku
(Isshinryu)
Lung Le
Kuen (Pai Lum)
Nijushiho
(Shotokan)
SunNuSu (Isshinryu)
Sanchin
(Isshinryu)
Either
Bando’s ‘Hidden Stick’ or Bando’s ‘The Horsemans FootsoldiersForm’
<staff>
For Sho-Dan I’m only looking for excellent performance
through Seiunchin, and very high level for the rest. Progressing into the intermediate level I’m
working on smaller detail in their form execution, guiding them for greater
body control.
I very much want each intermediate student to find their own
path of execution. Each body works slightly different and making each movement
become alive demands those differences be addressed.
I have exposed these students to hundreds of techniques, but
not as mandatory studies, rather as supplemental look-at’s for the day. I’m uninterested in their remembering the
totality, but to get a underlying structure of Kata’s potential.
Rather than beginning formal study of Kata Application,
they’re improving the basic self defense skills they’ve been taught. My understanding the reality of defense is
simply you have to make something work. If you have one technique that your
power and appropriate application of will drop any attacker, you’re not two
times a effective if you have two techniques. Believe in a technique, knowledge
how to apply it, etc. are the goals.
Where the basic study of those techniques is against formal
attacks (the one’s critics of karate are so fond of as referring to as
unrealistic), which are meant as training tools. Most of the time they’re working directly
into an attack. Realistically I can teach far more effective ways to use that
motion. But the basic training is developing movement and timing skills. As
long as the student understands what they’re doing the technique to build, and
have a glimpse of the next layers, there is nothing wrong with using such a
formal tool.
The intermediate student is where things begin to get
interesting. They are discovering their power and speed. Their focus must be
guided to keep them from becoming dangerous until all reaches balance. The
continued in-depth study of kata motion is a powerful tool in this use.
Of course at some time other players have to enter. The
attacks have to become more random, and the responses (controlled within the
prescribed range of technique), are to be worked to find the best avenue of
execution.
Where most of the technique training has been on the
percussive aspects (punching and kicking), and on countering grabs, it is at
this stage I begin the groundwork for advanced kata study. Even without
in-depth study, Kata containing a great many grappling and takedown
applications. I choose to prepare them for this with the inclusion of a series
of aikido counters to punches. Of course the punching attack is very formal,
but it provides good timing for anti-grab defenses, which I consider most of
these techniques anyways.
But they also lay a foundation of controlling the attacker
that finds its way into advanced kata studies.
Where I could show them how all of these techniques can be
found in part (greater or lesser) in their kata, I don’t worry them about that.
I’m much more interested in technique execution and movement flow.
Perhaps to some this doesn’t sound like kata, but I find all
of this ties together, and kata remains the underlying structure.
The intermediate student (under Black Belt) also begins 2
person kata, but as an advanced study, or rather a touch of the advanced dan
practices. I have various practices doing Fukyugata Sho, Seiunchin, Wansu, and
Chinto with one or several partners. This involves individuals who have a very
high level of technique execution, and they’re now doing the partner kata to
train other senses, the eyes, the ears, and even touch on occasion. Trying to
stay in perfect synchronization with another builds greater skill than just
kata performance. That same awareness is most useful in stress. Then when they
get it turn up the heat and increase their speed, not allowing one iota of
change or difference between their timing execution.
These partner practices may involve moving side by side, or
by facing each other and executing the kata across each other. This is one area
where words do not suffice alone. But:
In Fukyugata Sho, they begin with
facing each other with right shoulders aligned.
In Seiunchin they begin side by
side.
In Wansu they begin directly in
front of each other,
and in Chinto they begin facing
each other with left shoulders aligned.
It is at intermediate level (post Black Belt) that I begin
to demonstrate the relationship between kata execution and power, in a manner
which leaves the student understand why their training has followed the course
it has, and why they MUST continue in that vein. This involves non-verbal
communication and while I can write down words, they are meaningless without
the experience. But once the students experiences this, they begin the
transition away from intermediate training. Thus it becomes a concrete stage to
prepare for.
Hence kata study enters a newer stage, a provable manner of
increasing technique execution. This is the primary key in understanding the
use or application of kata.
[In this area, I will not comment further. These practices
were passed to me approximately 15 years into my Tai Chi training and I guess I
had progressed enough to see their usage. There’s nothing mystical, and all of
this is readily demonstrable to my students at the correct stage, and likely
just a different way to express what others do elsewhere. But I had to work to
achieve the little I possess, and there are some aspects of training which are
reserved to my students.]
The intermediate post-Black Belt students continues to study
several other kata, but for those first two years they’re more concentrating on
the depth of study they posses already.
Advanced KATA Studies
Frankly were now at the stage where true study of kata’s
potential begins. The student has developed fine movement skills, begun to
learn how to focus a technique correctly, and has a serious set of tools to use
in defensive positions. Here the cornucopia pours forth.
Where the student previously has honed their abilities to
deliver a series of techniques, at this point they’re beginning to obtain depth
in their knowledge. By increasing their
potential response, they begin to approach the ability to make it impossible
for anyone to anticipate their response, as they are gaining a very wide range
of tools with which to work.
Skill development must continue, power and energy flow must
be refined, knowledge must begin to grow exponentially.
The refinement of physical performance and energy
development makes an in-depth study of kata’s application potential more
reasonable.
The Core Practices
At the core of Advanced Kata study lies the application
potential of kata, the heart of Karate.
Of course this is based on my rule of thumb, if you’re practicing a
movement and you can’t drop somebody with it, why are you doing it?
I refrain from using the popular term Bunkai, which is a
specialized use in Japanese, not a general public term. In current Japanese,
Bunkai is used more frequently in, I take a car apart, not its martial application
as it has grown. Nor was the term Bunkai
used in most Okinawan karate, it is a later day transplant from Japan to
Okinawa.
But a movement has a potential. First would be that explanation given to a
new student of a kata, that helps them with the spatial relationship of
technique execution. At the same time those are still real techniques, but
frequently their optimal usage comes from acquired skill, to enter an attack at
the correct angle to obtain maximum efficiency.
Thus advancing is becoming more focused on the difference
between technique and that of skill, and how to work to acquire the skill to
‘sell’ the technique. This is
frequently the problem with simply ramming applications down a student’s throat,
and not addressing the skill involved in their usage.
The applications of many techniques appear endless. How to address the infinite potential of
karate and not devolve into change without root is where the challenge comes
in.
It is very difficult to know what was done in the past. Literature
tends to suggest applications were not taught openly or for less than very long
term students. Funakoshi Ginchin’s efforts in transplanting Okinowan Karate to
Japan did not include the application of technique as we’re discussing. On the other hand, I have testimony of others
who’ve trained in Okinawa where the study of kata application was always
present, as well as testimony of those who said it wasn’t.
Drawing on my own traditions my original instructors did not
teach the study of applications. On the other hand one of my instructors
friends, Sheman Harrill, from the same training, virtually works on the most
extreme depths of application analysis, leaving me fully capable of living in
both worlds.
Other friends I’ve trained with have systems with incredibly
large study of technique. All of which is taught in a proscribed order and the
student doesn’t worry about thinking of new techniques and applications,
instead concentrating on learning them correctly both in form, and applied
applications. One is in the Northern Eagle Claw tradition, the other in a
combined Shotokan,Aikido and Tjimande tradition.
So walking the fine line of trying to draw inspiration from
all of these traditions, and always trying to remain true to the perception of
Okinawa’s karate origins, is the mission we undertake..
What I see are a number of different layers of study, and
the rest of this presentation will address these objects:
1. Initial
training of the Advanced Karateka
2. Further
training of the Advanced Karateka
3. The
role of the Senior Karateka/Researcher
4. The
role of the instructor
5. The
art of Kata’s application analysis beyond technique
Initial training of the
Advanced Karateka
There are a wide variety of
practices utilizing kata to push the advanced karateka.
Among which are (in no particular
order):
1. The
study of body alignment. Taken from my tai chi training, there are a number of
different techniques of visualization to increase one’s power , one’s force
generated.
The one techniques involves exterior focus, bringing a
series of energy points in alignment in every technique execution. Incorrect alignment vastly diminishes ones
power. Even having your eyes focus other than the correct direction will weaken
the response.
Using this approach the instructor, via hands on touch,
explores correct and incorrect body alignment in technique execution. Once the
student feels the difference, steps are gradually undertaken to refine the
incorrect alignment and gradually greater power results.
Another technique is to focus internally, on the natural
bow’s of the body. Normally thought of as the bow of the back, the
shoulder/arms, the legs, the chest, and even the hands, this is, IMO, another
method to accomplish the same feat of the first technique.
I often utilize Fukyugata Sho, one of the simplest of kata,
as the device to focus on such techniques. The practice of cleaning the
Fukyugata Sho technique to the greatest extent possible, and then allowing the
student to migrate this work into their other kata practices.
This has several other aspects. When working kata applications, correct
alignment does more than increase power, it can be used to neutralize locks or
strikes being done against oneself (in-conjunction with knee release
techniques). Likewise this principle vastly increases the power being generated
in locks and throws,
too.
2. Exploration
of the speed of kata execution
3. Focusing
on the role of the knee release in body dynamics
4. The
study of application potential
5. Two
Person Practice
1. Variety
of practices.
a. Two
Person Practice
i. advanced Two person Practice
b. Controlling
the body
i.
Bow’s and alignment
ii.
Stance and movement
iii.
Keeping both hands (and other extremities) alive
c. The
Study of Application Potential
d. Methods
of transmission
i.
Very very slowly
ii.
Medium speed
iii.
Fast speed
iv.
Small Focus
v.
Large to Small Focus
Kata with ½ stepping,
advancing/retreating
Further training of the Advanced Karateka
2. Special
practices
a. Multiple
Striking (and Sho)
b. Layered
Striking
c. 5-count
striking
d. JingDo
Striking
e. Nihanchi
and turns
f. Nihanchi
and jump spinning crescent kicks
g. Nihanchi
under 10 seconds
The role of the Senior Karateka/Researcher
The role of the instructor
3. When
should kata change
a. My
Kyu Program (constant)
b. When
I have a great idea..
i.
First master it,
ii.
Then practice it and think on it more
Then after say 15 or 20 years go
ahead and make the change
The art of Kata’s application analysis beyond technique
4. How
kata techniques are meant to work – blindingly fast on the inside with the
attacker closing. So fast you’re done before you begin or know you did…..
Applications
Analysis – Advanced
Taking a Movement Technique from A Kata
[Variable definition of what a movement technique may be]
As in the opening of Seisan Kata, normally portrayed as the left foot stepping out with a left side block, followed by a right revese punch,
the movement may be defined from the following:
Taking a Movement Technique from A Kata
[Variable definition of what a movement technique may be]
As in the opening of Seisan Kata, normally portrayed as the left foot stepping out with a left side block, followed by a right revese punch,
the movement may be defined from the following:
a. the crossing of the hands before movement begins
b. the left foot stepping out with a left block/strike
c. as the right hand retracts to chamber
d. the following right front punch
e. as the left hand retracts to chamber
f. the right foot stepping
the definition of analysis may be a,ab,abc,abcd,abcde,abcdef,b,bc,bcd,bcde,bcdef,c,cd,cde,cdef,d,de,def,e,ef,f
All without adding another technique.
1.View the multitude of angles of entry against a variety of attacks.
r.grab, l.grab, dbl.grab, r.punch l.punch, dbl.punch, r.kick, l.kick
000
020
045
060
090
degrees
2. The technique may be applied as:
a.a single strike
b.multiple strikes within the over all movement
3.Then apply the techniques against different sized attackers
a.Larger
b.Same Sized
c.Smaller
4.Then vary the nature of the attack
a.Programmed
b.Random
5.
2. The technique may be applied as:
a.a single strike
b.multiple strikes within the over all movement
3.Then apply the techniques against different sized attackers
a.Larger
b.Same Sized
c.Smaller
4.Then vary the nature of the attack
a.Programmed
b.Random
5.
x
Notes:
d.
7. Variety
of practices.
a. Two
Person Practice
i. advanced Two person Practice
b. Controlling
the body
i.
Bow’s and alignment
ii.
Stance and movement
iii.
Keeping both hands (and other extremities) alive
c. The
Study of Application Potential
d. Methods
of transmission
i.
Very very slowly
ii.
Medium speed
iii.
Fast speed
iv.
Small Focus
v.
Large to Small Focus
e. Kata
with ½ stepping, advancing/retreating
8. When
should kata change
a. My
Kyu Program
b. When
I have a great idea..
i.
First master it,
ii.
Then practice it and think on it more
iii.
Then after say 15 or 20 years go ahead and make the
change
9. How
kata techniques are meant to work – blindingly fast on the inside with the
attacker closing. So fast you’re done before you begin or know you did…..
10. Special
practices
a. Multiple
Striking (and Sho)
b. Layered
Striking
c. 5-count
striking
d. JingDo
Striking
e. Nihanchi
and turns
f. Nihanchi
and jump spinning crescent kicks
g. Nihanchi
under 10 seconds
11. So you
don’t have an instructor (no tears from me)
12.
APPENDIX
Self-Defense Techniques of Shaolin Red Fist (Part II) by
Gene Ching (Xing Long).
Kung Fu magazine 2002 April, page 108-109
Form vs. Function
When form and application is placed side by side, we clearly
see how the fighting applications differ from the form. In combat, the stances
are not nearly as wide as in the form, and
the hand positions vary. Even so the spirit of the movement is the same.
This is the secret to unlocking forms – they are not to be taken literally.
Forms are like sutra’s teaching the way of right action. Application is the
action. Knowing the right action and doing the right action is connected, yet
not the same. Consequently practical
teachings must be malleable, subject to individual interpretation, to fit any
situation.
On a deeper level, forms practice serves a higher purpose
beyond just self defense. While on the outside forms teach you how to fight, on
the inside forms teach you how to harness your vital essence, your qi. Qi ‘by
nature, is very difficult to explain how this process works. This requires some
faith.
….
You cannot begin to penetrate Shaolin kungfu without
awareness of fighting applications. Even
if you are practicing for qi cultivation alone, sine Saholin is a martial art,
its qi always reflects combat applications.
Therefore, knowing the fighting methods is critical to understanding
where to channel your qi.
Façade vs.
Fighting
Interpreting forms into fighting hits even greater
challenges with “hidden” movements. Occasionally, kung fu will hide its
techniques within the forms. In this way, certain techniques could be kept
secret from prying eyes, … Although
external position is changed, the hidden intention is preserved within the mind
of the practitioner.
A basis example is the palm strike. In forms, the heel of
the palm is external focus point. The
fingertips are pulled back, creating a powerful isometric in the forearm that
presses power deeper into the palms. But in application, the focal point can
shift from a palm push to the collar-bone into a finger jab to the throat.
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